28913698 ENFF 311 ASSIGNMENT 1Contents TOC o “1-3” h z u SECTION A PAGEREF _Toc4485644 h 21.Text in a child friendly version. PAGEREF _Toc4485645 h 22. Explaining choice of words and the syntax and semantics of my writing.33. Record yourself where you read the text fluently using dramatization techniques, prosody and the correct pronunciation of the text. PAGEREF _Toc4485647 h 114.1 What guidelines can I follow to select myths/legends for my classroom? PAGEREF _Toc4485648 h 114.2. What type of myths/legends should be excluded from the selection, and why? PAGEREF _Toc4485652 h 124.3. How do I ensure the learners in my classroom understand the difference between fiction and non-fiction? PAGEREF _Toc4485653 h 13SECTION B PAGEREF _Toc4485654 h 14Part 1 technical questions. PAGEREF _Toc4485655 h 14Part 2 reflective entry. PAGEREF _Toc4485656 h 15 CONCLUSION………………………………………………………………………………………….………16 REFERENCE LIST……………………………………………………………………………….17SECTION A1.Text in a child friendly version.295275297180Long ago in the forest, there was a Fox. He was very happy. He was walking through the forest, he saw a well. He looked into it. He saw his image in the water. Suddenly, he fell into the well. There was plenty of water in the well. He tried to come out, but he could not jump up. At that time a goat come there. Hearing the sound of the fox from the well, he looked into it. “what are you doing in there?” the goat asked the fox. “I am drinking this water. It is very sweet and tasty”, the Fox said. The foolish goat jumped into the well. He wanted to drink the sweet and tasty water. At once the Fox got on top of the goat and jumped out of the well. He thanked the goat and walked away.2. Explaining choice of words and the syntax and semantics of my writing.2.1 I will use flash cards because they are hands-down the most effective way for motivated learners to study and retain factual knowledge, especially when they are used smartly.7620011746250013144501669415fox00fox-2381252819401296035161290GoatGoat409575142875center10160WellWellleft-322580951230796290DrinkingDrinking13970190500141541511430jumpjump48577501341120283210ImageImage-7931154337051440815111760WaterWater11245855241290ForestForest-56134003. Record of myself where you read the text fluently using dramatization techniques, prosody and the correct pronunciation of the text.3.1. Record is sent via WhatsApp.4.1 What guidelines can I follow to select myths/legends for my classroom?4.1.1 Choosing a child’s book is a match-making process because not all children will love the same books. These guidelines for choosing books for children of different ages will help teachers find books that are right for the learners. (Pica, R., 1995.)Here are some basic points to keep in mind. Children are attracted by brightly coloured pictures of simple objects.They are listeners, and respond well to books with simple texts and good rhythms.Wordless books stimulate them both visually and mentally, and encourage them to create their own stories.They are delighted with board books and cloth books, which have the virtue of being practically indestructible.Mother Goose, nursery stories, and other books depicting familiar objects and experiences are enjoyable to children.Children like listening to slightly complex texts with good rhythm and effective word repetition.They are also coordinated enough to have constructive fun with toy-like books that may pop up, move, or provide other astonishments.A few children may learn to read before they are in the first grade. Most learn during first grade. Many learn even later.For reading to or with children, select picture books with strong storylines and character development.For the child who is reading independently, the teacher must choose a book with a straightforward story employing words that will be familiar from everyday use. Some publishers produce books, generally called “easy readers,” which independent readers often enjoy.The teacher must consider who the child is, his or her personality traits and personal preferences when choosing a book.The teacher must make a selection with the child in mind; choose an informational book or a novel in an area of specific interest. 4.2. What type of myths/legends should be excluded from the selection, and why?4.2.1 Grade LevelGrade-level content matters to the book selection. Think of this criteria in terms of grade-level appropriateness. This can also spark a heated debate as one teacher may feel like profanity is not a barrier to grade-level selection as another teacher is adamant in the idea of no curse words. Some teachers develop coping skills in teaching learners to look at situations of violence. An example of this would be my entire Advanced 7th-grade curriculum focusing in on the 1940’s Decade of Change. In terms of grade-level consideration; however, more often than not it is left up to the teacher discretion what they are presenting to students. Here are some points to consider:Violence/Use of Weapons.Language/Profanity.Sexual/Relationship Situations.Situations of Fear.Drug Use.4.2.2 Categorycenter98869500Looking at diverse texts often instigates a binary approach to choosing texts. We want texts with white characters. We want texts with black characters. However, the spectrum is more than this binary. This diversity wheel by Johns Hopkins University provides a more inclusive approach to what we need to be looking for when selecting diverse texts:4.3. How do I ensure the learners in my classroom understand the difference between fiction and non-fiction?4.3.1. As the teacher I will ask the learners if they can explain what fiction means. On a chalkboard, I will label one side “Fiction.” And I will write down what the learners say about fiction. For example; fake, make-believe, not real, fantasy.4.3.2. I will show the learners the book cover, and I will ask them to discuss the picture and the title with a partner. I will then remind them to use their pre-reading comprehension strategies and I will give them time to share some of their connections and questions in the class. Next, choose a picture from the book, and go through the same process.4.3.3. Before I begin the story, I will ask the learners the importance of monitoring a comprehension. I will ask them how rereading strategies help. Read the story once, without interruption, to enjoy the story itself. Then explain that i will read it again and that I will be stopping so they can make predictions, ask questions, and make connections. After I have read the story again, I ask learners what features are common in fiction. Record their responses on the chalkboard.4.3.4. Next, I will turn the focus to nonfiction and ask the learners if they can tell me what nonfiction means. On the same fiction chart, label the other side “Nonfiction.” I will write down what the learners say about nonfiction. For example: real, facts, not fake.4.3.5.I will show the learners the cover of the nonfiction book, and ask them to discuss the picture and the title with their partners and again remind them to use the previewing strategies and to make connections and generate questions. I will give them time to share some of their connections and questions with the class.4.3.6. Before I begin the nonfiction, I am going to ask them why it is important to monitor comprehension and how pre-reading strategies help? Then read the text without interruption, English Enhanced Scope and Sequence 2 then once again, stopping to make predictions, ask questions, and make connections. Read the nonfiction again, and this time ask the learners to think about the features that are common in most nonfiction books and that are different from fiction books. Then I will add these to the chart, and discuss their significance.4.3.7. I will look at the chalkboard on fiction and nonfiction, and have a class discussion about the similarities and differences with the learners.4.3.8. lastly I will form groups of learners go through a pile of books and sort the fiction together and the nonfiction together. When finished, have each student choose a nonfiction book to read. After they read their nonfiction books, I will ask them to create their own minibooks titled “Nonfiction Text Features.”SECTION B162877512179300left322580Part 1 technical questions.Simile –They’ll call me freedom just like a wavin’ flag. This is simile because he is comparing freedom with a flag.And everybody will be singing it. And you and I will be singing it.Alliteration – the poetry gives the waving flag some human qualities that when they get older and stronger as well like human to resent that he wants to be free and powerful just like the free flag when they grow up. (Sekeres, D.C. and Gregg, M., 2007).They’ll call me freedom just like, a waivn’ flag.The poetic freedom in the poetry is the wavin’ flag, and it is used as a comparison to a flag, according to my understanding, flags represent freedom.The purpose of punctuation in poetry is similar to punctuation in prose and serves almost the same purpose as bar lines in music without which the words and notes won’t flow all together. In order words, punctuation assists in organizing your words into discernible verses: encapsulates thoughts and ideas.Part 2 reflective entry.”Wavin’ Flag” is a song by Somali-Canadian artist K’naan from, originally written for Somalia and aspirations of its people for freedom. tell or to pass on a back rub to each peruser out there about road kids so they can have a thought or data of what is truly happening to the children in the city with respect to equity must be served similarly. The ballad is actually expounded on how a road kid was raised and educated to how to endure and confidence in some specific things for better life or getting by in their reality. The child accept road as home since that is the place they have developed from yet regardless they trust that their lives won’t finish in the city despite the fact that is a spot called home to their present circumstance of time. This is repetition because this verse is repeated twice. (Lee, T.D., Swanson, L.R. and Hall, A.L., 1991).The poem is about that social equity is not served similarly to everybody out there according to a person in the method for that a few people are enduring so as to not have covers for concealing their heads when is drizzling or amid winter seasons (Guy, S., 2012). Destitution strikes many individuals out there some of them which are of fans meaning they don’t have the two guardians in this world however our legislature has never attempted to make part in move about the battle of the children. A few children do have guardians however the main truth is no accessibility of openings for work and absence of certain aptitudes.I will tell my learners about the story of the singer or the poet, the poem Waving Flag which is written to show us that, there is still hope in the next coming days or in the future, hope that in the future there will be freedom for everything in life, just like the flag that waves freely. Even when life is hard it pushes people that to still have hope and believe that better days are coming for them and brighter future ahead of them. This is a street base life poem, meaning it is a really life thing that happened some time ago but it still happens to some other people living on the street. K’naan, who immigrated to Toronto from Mogadishu, Somalia, in 1991, is a talented musician who raises social and economic issues through his songs. He has recently released a beautifully written and illustrated story, Wavin’ Flag, the same title as his hit song. This book tells his story of life as a refugee in a child-friendly manner. In Wavin’ Flag, K’naan shares how the wise words of his grandfather, “When I get older, I will be stronger, They’ll call me freedom, just like a waving flag,” got him through the struggles of living through war, immigrating to a new country, learning a new language, and being teased and bullied. The key role of music in K’naan’s life now, and as a child, is evident. This story shares how he depended on music as it provided something for him to love, gave him a way to connect with other kids in school, and helped him feel safe. (Guy, S., 2012). Poetry has a spot in our educational programs. It very well may be educated as a component of perusing, composing, and language exercises and it fits effectively into study hall topics, undertakings, and festivities. It can enhance our examinations. Poetry exercises can be effectively actualized to reinforce language expressions exercises (Bloom, H., 1997). Utilizing poems in a class gives learners a chance of relating the circumstance in what they have seen before as a method for connecting with them to the exercise or learning process, it helps the learners and they can perform it simple. It tends to be an extremely decent device of showing familiarity, since it comprises of many rhyming words inside it and isn’t composed with high recurrence words that students can’t comprehended. 6.1 possible guidelines for language teachers when selecting protest poetry for their classroom (Jung, D.Y.Y.,2009)1. Activate prior knowledge.2. Establish theme.3. Explore language.4. Focus on facts.5.Set a scene.6.Inspire writing.7.See new perspectives.8.Ignite curiosity.9.Provide pleasure.10.Capture character.CONCLUSIONOnce I am a teacher, I will use different genres of literature, which are fiction, nonfiction, and drama, with each varying in style, structure, subject matter, and the use of figurative language, because The genre raises certain expectations in what the reader anticipates will happen within that work. Genres are useful. Writers and readers both use genres because of the cognitive and social work they accomplish. For writers, using the patterns of a genre accepted by readers for accomplishing their purposes allows them to establish a working relationship with readers.REFERENCE LISTBloom, H., 1997. The anxiety of influence: A theory of poetry. Oxford University Press, USA.Guy, S., 2012. When I Get Older: The Story Behind Wavin ‘Flag. Tundra Books (NY).http://www.readingrockets.org/article/10-ways-use-poetry-your-classroomJung, D.Y.Y.,2009 Color of Me: An Exploration of Color through Picture Books.Lee, T.D., Swanson, L.R. and Hall, A.L., 1991. What is repeated in a repetition? Effects of practice conditions on motor skill acquisition. Physical therapy, 71(2), pp.150-156.Pica, R., 1995. Experiences in Movement with Music, Activities, and Theory. Delmar Publishers, 3 Columbia Circle, Box 15015, Albany, NY 12212-5015.Sekeres, D.C. and Gregg, M., 2007. Poetry in third grade: Getting started. The reading teacher, 60(5), pp.466-475.